Barbra, back as if she never said goodbye

That song was written as a poignant, posthumous tribute to Judy Garland, by her onetime son-in-law, Peter Allen. It was a rather mournful examination of life upon the wicked stage.

And yet the title, at least, belongs to Miss Garland’s heir as a pop goddess/cultural icon. Respect and attention must be paid when Barbra Streisand sweeps on stage in her various Donna Karan outfits (the black sequins, meh; the sweeping red gown, deliciously glam and nostalgic.)

Barbra played two shows in Brooklyn last week; her “return to Brooklyn” at the big new Barclays Center. By now you may have read most of her glowing reviews.

From the opening song, “As If We Never Said Goodbye” to her final encore, a blessedly minimal political version of “Happy Days Are Here Again” — the greatest star by far enraptured and perhaps even somewhat mystified the packed stadium. Sure, she did her share of hits — “People,” “Evergreen” and even a one-woman version of her old Donna Summer disco hit, “Enough is Enough.” There was a melding of “Rose’s Turn” and “Some People” (from “Gypsy,” which she says she will bring to the screen again), ending with “Don’t Rain on My Parade.”

But Barbra also included a lot of material that meant something to her. And she felt comfortable enough to assume her audience had grown with her and would accept “What’ll I Do,” “My Funny Valentine” and Marvin Hamlisch’s beautiful, but little known theme from “Ice Castles.” She looks remarkably fresh, and in her second act gown (the red number) she was a dead ringer for her famous Central Park appearance, back in 1967, minus the daunting beehive.

The voice? Huskier, yes, but not by one note less effective. In fact, in her maturity she has learned even more about the storytelling of a song, as demonstrated on “The Way He Makes Me Feel” and “Didn’t We.” Always a technical genius, she now knows how to husband her instrument to chilling, touching effect. At her best, she is still swoon-inducing. (At her “worst” she’s still at her best.)

Barbra’s new shows reveal her quieter, softer, more introspective self. She doesn’t have to tear the roof down anymore. She knows who she is. And finally she understands that we know who she is as well. And in that understanding her art stands — burnished. She’s been one for the ages since 1964. Welcome home, Barbra, in every way.